Religion Underground

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Imagine a world where the affluent live in lofty houses and the poor, working class citizens trudge to long, dreary, factory shifts in order to keep the system working from their underground world. Although it’s not exactly post-recession America, it is not too hard to imagine. On my final day of vacation from relative unemployment, I watched Metropolis for the first time. A 1927 silent film, this movie of a dystopian world run by an unsympathetic ruling class is experiencing somewhat of a revival. Panned by early critics, the film is now often categorized as a classic of the silent era. It was also the most expensive silent movie ever filmed. Shot in Germany between the two world wars, the story follows a surface dweller who has fallen in love with a troglodyte. It even has robots.

This Fritz Lang film fits in this blog because of its many biblical references and themes. Freder, the protagonist, falls in love with Maria, a working-class preacher among the underground laborers. Following Maria to the underworld, Freder sees the gargantuan machinery that runs the lives of the poor, and when workers die in an accident he calls out “Molech!” Molech, the putative god of child sacrifice in the Hebrew Bible, is shown as a fiery factory door consuming the forlorn men who dutifully march inside. Maria, however, teaches love and patience in suffering. In an underground cathedral she is the sole cleric long before most denominations recognized women as ministers. She compares the skyscrapers of the rich to the tower of Babel and insists that a mediator will come. With its strange blend of Christian and communist themes, this film made a significant impact in its time.

In our own day of entrepreneurship with faux-Christian backing it goes unnoticed that the Christianity of the first century was what might be called communistic. According to the book of Acts, early Christians keep their goods in common to ensure that everyone had what they needed. Among the disciples, Judas kept the common purse. What marked these early Christians as exceptional in the eyes of their earthly overlords was the concern that they had for one another—selfishness had no part in their religion. When Christianity became the religion of empire the lure of worldly goods distorted it almost beyond recognition. Christian industrialists built the tower of Babel with its leering Molech beneath the surface of the ground. Judas, it seems, has become the ideal role model for such a religion.

Maria's underground cathedral

Kings and Codes

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I readily acquiesce to the suggestion that others are smarter than myself. In a world of overly competitive commerce that has wormed its way into higher education, I have found myself ill-equipped to compete against those who are more clever at working the system. At times I can be decidedly pre-medieval in my perception of fairness. Thus it was a combination of self-denigration and legitimate surprise to find a brief piece in the May edition of Wired magazine on the Code of Hammurabi. In this arena I would have supposed myself to be on firmer ground. The piece by Joel Meares appeared in the Blast from the Past section of the “Humor Issue” of the erudite magazine. The writers at Wired are by default well beyond my ability in the tech scene, but this piece was a consideration of how Hammurabi’s justice still plays its way out in popular culture. Beginning with the 1970’s movie series Death Wish, Hammurabi is given credit for inspiring Hamlet, The Count of Monte-Cristo, Red Dead Redemption, Frankenstein, Moby Dick, and Batman. Holy pedigree, Hammurabi!

Each semester I try to explain to my students why study of the ancient world is still relevant. It may be overly simplified to suggest that Hammurabi directly inspired all these works (the Akkadian language wasn’t really deciphered until the middle of the nineteenth century, CE, long after Shakespeare), but clearly the trajectory had been set long ago. Even before Hammurabi. The earliest known law-codes predate Hammurabi by many centuries and demonstrate that our sense of justice and fair play were being bandied about by the gods long before Hammurabi was a twinkle in Shamash’s eye. If we want others to play nice, the best way to convince them to do so is to lay the dicta in the realm of the gods.

Maybe I can’t figure out where Death Wish and Moby Dick share anything beyond a cursory resemblance to Hammurabi, but it is clear that the Mesopotamians were the first to articulate the idea that the gods set the rules and it is our duty not to upset them. Of course, in our society fair play is frequently sublimated to corruption at various levels. Someone is always willing to bend the rules if the covert payment is enticing enough. After all, doesn’t it look like Hammurabi is placing his fingers to his lips while receiving a kickback from Shamash on the pinnacle of the famous stele bearing the code that now bears his name?

Hammurabi winks at Shamash

Troying Around

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While discussing Homer with my relatives, it was decided that we should watch the movie Troy. Although conceived as a blockbuster retelling of the Iliad, the presentation reminded me significantly of The Clash of the Titans (2010). In both instances the directors and writers attempted to portray a realism of sorts, making Achilles and Perseus into just regular guys with issues. There is something of the fallen hero here, and perhaps a misunderstanding of the way the Greeks understood their greats. While it can’t be denied that heroes were intended as figures of unattainable stature, they were in some sense conceived as role models for mere mortals. The Iliad is an exploration of the anger of Achilles and the unpredictable influence of the gods.

As the critics pointed out when the movie was first released, the absence of the gods from the film is a serious departure from the Iliad. Without the gods, Achilles takes on a level of prominence never intended by Homer (whoever he was) and the playing out of his revenge begins to feel like a bad western. Although the Iliad does focus on Achilles, it requires an ensemble cast. None of the characters are evil like the movie portrays Agamemnon. He, along with his brother Menelaus, is the hapless inheritor of the curse of the house of Atreus. No matter what Agamemnon does, he is doomed. This fatalism is cut short in Troy as Menelaus, Ajax, and Agamemnon fall in the foreshortened battle of Troy.

The Trojan War is a myth. There is no history to portray accurately here. Instead there are gods and heroes. In removing the gods—a subtle nod toward many modern sensitivities—the movie loses its soul to beat the bank. And so perhaps it is a modern parable for a society that values money above all else. Whether the gods are real or not is immaterial, for they are but projections of the human spirit. Without them we are mere molecules conglomerated into biological entities with no purpose. Troy is a movie that falls short of truly mythical status, but at the same time holds a mirror to modern culture and asks “are you so sure that you can live without the gods?”

Religious Reflections

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In a stunning display of alacrity, over the weekend I viewed the movie Mirrors only three years after it was released. Since I watch horror films with a view to how they portray religion, I was preparing myself for disappointment when well over halfway through no overt, or even subtle references seemed to have been made to any holy topic. As Ben Carson, security guard, discovers that the mirrors of his night-watch building are haunted, the story seemed to be evolving into the standard ghost movie. When the missing character of Anna Esseker was finally found, I breathed a sigh of relief—she was living in a convent (because there were no mirrors there). What I supposed was a ghost movie was really a demon movie, and I found yet another example of how fear and religion interact.

Since I’m currently preparing a program for a local church on the way that Christianity is represented in the movies, I’ve been rewatching a couple of standard films to gauge the scope of this interaction. So this weekend I also watched Constantine. This has never been one of my favorite movies, but as imbued as it is with Christian mythology it cannot really be ignored. When Gabriel is explaining to Constantine why he is bringing the devil’s son into the world, I realized that the reason coincided with some of my observations. Gabriel notes that humans need fear to appreciate God. By bringing fear into the world, Gabriel will force humans to become more pious. Intertextuality in the movies.

If I might indulge in some theological (that word makes me shudder) speculation that may not have been intended by the writers/producers, both of these movies utilize the concept that demons are trapped by mirrors. This may be a reflection truer than ever intended—we are our own demons. Mirrors reflect the vanity of visual appeal; our looks fade and our true self remains. Is that self an angel or a demon? Christian tradition states they are one and the same. Demons are only fallen angels. I’ve seen enough horror films to know that religion is not a universal element, but it often does appear in the role of producer of both good and evil. In this sense, at least, the movies are very honest.

American Haunted

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Serendipity, although rare, still occurs in university life. As an adjunct instructor whose livelihood revolves around the number of courses that may be squeezed into a limited number of days, I have been considering online courses. As an avid watcher of horror movies—excellent preparation for adjunct life these days—I have attempted to sample the genre widely. It is therapeutic to see people in fictional situations worse than my own. While attending a training course on constructing online courses earlier this week I was surprised to find out my instructor was Brent Monahan, a versatile and talented individual of whose presence at Rutgers I was unaware. Most famously Dr. Monahan wrote the novel and screenplay for An American Haunting, a movie I had written a post on back in January.

Compulsive in my desire to be on time, I generally show up to all appointments early. For this particular session I was the first person present, so, not recognizing my teacher, we struck up a conversation about my field of studies. (He asked; I try not to lead with my chin.) He was nonplussed about the fact that I am affiliated with the religious studies department—in general this is a conversation stopper since, along with politics, it is a forbidden topic in polite company. Before I realized who he was he suggested that perhaps people go into this field because of their internal struggle with good and evil. It was a perceptive statement and it made sense when it came out that he was a writer of horror films and novels.

Since I’ve been exploring the nexus between religion and horror I have wondered what the deeper connection might be. Clearly fear of the unknown, the overly powerful, and the randomness of life in an uncaring universe play into it, but perhaps it is also the struggle of good and evil. Horror films often present the “what if” scenario: what if the side of evil were allowed free reign? Often the fount of that evil, in horror films, is religion gone awry. Certainly in An American Haunting a pious man is driven by inner demons to the abuse of his own child. That he is a religious man is made plain from the near-constant presence of a clergyman in his house once the haunting starts. While the exact relationship remains to be parsed, it is clear that fear and religion reside very near one another in our brains, perhaps as near as good resides to evil.

Floods and Fairytales

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Never mind that the Bible gives only a cursory description of “Noah’s ark.” Never mind that the story in Genesis is clearly derivative from Mesopotamian originals such as the epics of Ziusudra, Atrahasis, and Gilgamesh (the Utnapishtim version). Never mind that all species of animals cannot survive within a single, extremely limited biosphere without evolving afterward into the diversity that the world currently hosts, even counting extinctions. Never mind that not enough water exists (with apologies to Kevin Costner) to cover all landforms without every mountain being pounded flat and stacked neatly on top of the ocean floor. In short, never mind reality—people will continue to build replicas of Noah’s ark. As a literary trope the ark has proved invaluable; many of my posts demonstrate how it appears and reappears in books and movies as a symbol of human irresponsibility. And yet, in order to demonstrate the veracity of an ancient myth, we continue to build fundamentalist arks.

Yesterday my wife pointed me to a msnbc story of an ark being built—and sailed—in the Netherlands. Certainly those in the “low countries” have global warming to deal with more immediately that those on higher (geologically, not morally, speaking) ground, and the engineer of this particular ark does not strike the viewer as a rabid literalist (he is a little too unkempt for that, and his shirt is not white and he wears no tie). John Huibers, however, worries about a more localized flood in the Netherlands. The ark may be overkill since polar bears, koala bears and panda bears are rare in Amsterdam, at least when one is not medicated. Arks, however, make great tourist attractions.

In Hong Kong the Kwok brothers built an ark replica in 2009. Greenpeace has one in Istanbul. A Christian theme-park featuring a full-size ark is under development in Kentucky, and just two years ago I drove past a roadside ark being built in Maryland. Most of these arks, interestingly, follow the design in the Sun Pictures’ production In Search of Noah’s Ark rather than the more traditional, mythic design in my children’s Bible. It is a natural human tendency to mistake form for substance. The story of Noah is a cautionary tale that has taken on daunting real-life implications in our treatment of our planet. Water is the signature of life, but for us land-dwellers too much is not a good thing. Thankfully, should a flood come, there will soon be enough arks around the world that would-be Noahs may find themselves in a buyers’ market.

Still my favorite ark

Stranger Tides

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Yo, ho, ho and a plate of spaghetti

The closest I’ve come to appreciating pirates is the command of the Flying Spaghetti Monster that its devotees must wear pirate costumes. Nevertheless, being only human, I was curious about the fourth installment of Disney’s Pirates of the Caribbean series although the old storyline had mercifully died out. This weekend my family joined a handful of others still showing interest and went to watch Captain Jack Sparrow’s antics on the silver screen. Perhaps it was because this movie actually followed, loosely, an actual book instead of a theme-park phantasmagoric pastiche, but I found the movie surpassed my expectations. I’m discussing it here because of the heavy dose of religious concepts brought into the story by the inclusion of a missionary.

In typical Pirates fashion, the character introductions are unconventional, and so it is with Philip, the missionary. Tied to a mast on Blackbeard’s ship as a kind of human talisman, the poor man is cut down by Sparrow and a crewman during a mutiny. The crewman declares to Philip, “You are either for us or against us!” to which the missionary replies, “I am neither with you, nor am I against you!” The crewman asks Sparrow if that is possible, to which Captain Jack replies, “He’s religious, I believe it’s required.” This was possibly the funniest line in the movie, but it was so because of the underlying truth. The sarcasm here is directed at a representative of a church that will ultimately lead to the destruction of eternal life. Granted, the agents of that destruction are Catholic, presumably.

Once the fountain of youth is discovered and Blackbeard and Barbossa engage in their swordplay, Spanish troops arrive and promptly destroy the pagan fountain declaring that the church (presumably Catholic) is the only means to eternal life. The Protestant missionary, meanwhile, in an act of self-sacrifice returns to free a misunderstood mermaid. (This is Disney, after all.) The dialogue is difficult to remember from a single viewing, but the addition of religious elements beyond the supernatural lent a gravitas to this final Pirate film that the others lacked. Even placed among the fantastic, the religious elements grounded it in a reality where faith, sacrifice, and fortitude became intrinsic to the story. I doubt I’ll head off to the Spanish Main any time soon, but I appreciate movies that offer a bit of substance along with their entertainment on that transatlantic crossing.

Zombie Friday

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New Jersey is known for its zombies. Last October Asbury Park gained admission to the Guinness Book of World Records for the largest zombie walk (exception is made, of course, for daily life in Washington, DC). The movie zombie, in its now classic form, was reborn in western Pennsylvania, but New Jersey is the place where strange afterlives appear to gravitate. Yesterday Stephen Finley was sentenced. Finley, a mortician, had been convicted of selling the healthy organs of his dead customers to earn a little extra on the side. Given that the governor, Chris Christie, might rival Vlad the Impaler in his zeal for chopping, this really does not surprise me at all. Is it not the ultimate triumph of the free market to consider human beings commodities to be packaged, used up, repackaged and resold? Moral rectitude is on the side of the strong arm.

As someone who has been on the receiving end of the chop more than once, and reduced to a zombie-like state of perpetual job-insecurity, I think I know how the undead feel. Not having a place in the normal world of the living, but not quite dead, the zombie wanders about looking to feed on brains. This idea of brain-lust seems to stem from the cult classic The Return of the Living Dead, although, not being a film specialist, I would welcome correction on this point. Nevertheless, like the modern zombie I hail from western Pennsylvania and nothing satisfies me like a good brain (metaphorically, of course).

The idea of harvesting the organs of the powerless dead also suggests the endlessly referenced Soylent Green. Here the staunch NRA promoter Charlton Heston fights against the establishment that is turning (spoiler alert) people into Soylent Green, the ultimate solution to food shortages! For, after all, are people not just commodities? America’s thirst for zombies reflects our growing sense of victimization: the zombie is primarily a creature without a will, brought back by powers beyond its control. In the original vodun context the zombie was a source of cheap labor. Is it any surprise that West African slaves brought the concept to the New World with them? Today, of course, those with the cash may simply purchase the organs they desire, cutting out the middle man and going straight to the source.

Robopocalypse

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Yesterday the long anticipated novel Robopocalypse was released. Although I seldom indulge in hardcover fiction, I headed to my local Borders to purchase a copy. Sadly, it seems, my local is cutting back on first-day releases because I walked out of the store empty handed but with a robotic Armageddon in my head. Last summer I became acquainted with Daniel H. Wilson’s How to Survive a Robot Uprising, but word on the street is that this novel is serious. Steven Spielberg purchased the movie rights even before the book was released. And the concept owes its existence to religion.

If it were not for human religious sensibilities, would the concept of an apocalyptic end have ever arisen? Probing into the ancient psychology that lead Zoroastrians to suppose an ultimate conflict was just down the theological road, it is clear that even a strong moral sense alone does not dictate ultimate dissolution. By personifying evil in the form of Angra Mainyu, Zarathustra gave a (divine) human face to wickedness, and thus opened the possibility of battling against it. Evil as an abstract, non-personified force might simply be accepted as part of the universe we inherited. By providing it with will and intention, however, Zoroastrians allowed for a natural human response. Fight or flight is hardwired into our brains, but would we have dared fight a foe that is immaterial, amorphous, and completely abstract?

The nature of the enemy has transformed itself many times over the ages. Wilson, a scientist working with robotics during his education, has taken a religious theme and placed it in the context of a godless world of cybernetics. I must use caution here, since I haven’t yet acquired a copy of the book, but it remains clear that it is the humanization of non-human entities that gives force and pathos to a final conflict. Jesus charging his white horse into a foul-smelling cloud lacks the same impact. Thus mythologies are born. Mythologies that people live by and for which they frequently die. I do hope it all holds off until I can get a copy of Robopocalypse to read. Better yet, the end won’t come until after the movie is released.

Not So White

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Over the past two decades, an interest in presenting fairy tales more akin to the spirit of the brothers Grimm has blossomed into its own industry. For those of us who were reared on Fractured Fairy Tales, this is a welcome development. Among the more creative approaches to this genre is the 1997 movie, Snow White: A Tale of Terror. Hampered by lack of theatrical release in the United States, this gothic attempt at telling the story in its original, dark form has gone largely unnoticed. I recently viewed the movie for the first time myself, and although the basic storyline is somewhat trite the Grimmesque features redeem it at many points. (Who doesn’t secretly want to see the pretty-boy prince charming thrown out of a castle tower window?) Perhaps the most unexpected addition to the Disneyfied tale we all know is the religious component to the movie.

“Snow White”—never named so in the movie—has been raised by a pious father who wears a cross and insists that she say her prayers and read her Scriptures. Being a local lord, he suppresses ruffians who populate the woods, including a band of not-so-merry men who incorporate some that were tortured for refusing to go on crusade. When the not entirely wicked step-mother needs Lord Hoffman’s blood to raise their stillborn son to life, she lashes him to a crucifix, saying to the corpus that occupies the other side, “now you shall have company.” (Did I mention this is a horror film?) Along with the unexpected twists that those conditioned to happy endings find so disturbing, the film actually contains a subtlety on matters of religion that is frequently missed. It also resists corny dialogue that so often plagues films where the storyline cannot bear any substantial weight.

While it will never be my favorite movie, this particular film was an effective adult retelling of a familiar tale with more depth than the common story might suggest. The Germanic folklore collected by the Grimm brothers often reveals a depth of insight into humanity that is bleached out by Disney’s bright colors and cheerful smiles. It is more true to the human experience. The scene that remains seared in my mind is where one of the seven miners (only one is a dwarf—another is actually a friar) is revealed to have been disfigured by crusaders off to liberate the Holy Land. Refusing to participate, he had to watch his family burned at the stake and had a red-hot iron cross pressed to one side of his face. (Did I mention this is a horror film?) As in the days of Grimm and continuing into our own, the church continues to scar many even as it attempts to heal others.

And I Feel Fine

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“Is something supposed to have happened?”—Jane Banks in Mary Poppins. The world was supposed to have ended yesterday, but I haven’t yet looked out my windows to make sure. I suspect that everything is pretty much the way it was on Friday. Nevertheless, I have to admit to a tiny bit of relief. I do not believe in a mythic end of the world, and yet there is always that taunting doubt that maybe somebody knows more than me. To calm my jitters, I watched Chicken Little last night. This particular Disney movie has never been one of my favorites, but yesterday it struck me as a parable for our times. Even better, the original folktale is a parable for our times. No one knows when the story originated; it is an example of a folktale that belittles paranoia and the mass hysteria that tends to accompany it. A common ending has a fox eating all the concerned animals as they make their way to the authorities.

Our culture is rife with end-days beliefs. Since this is an idea clearly traceable to non-biblical origins, one might suppose that Fundamentalists would eschew it, but as we have seen the last few days, quite the opposite is true. Those who like Chicken Licken or Cocky Lockey go around declaring the end of all things clearly believe they will be rewarded for their special efforts. Instead, history will class them along with Goosey Loosey and Turkey Lurkey—those who are easily led. Perhaps the oddest result of this recent scare is that many people will not abandon the belief, but will simply push it off. We have another scheduled apocalypse for the end of 2012. Is it because we are now so closely connected by the umbilical Internet that our natural fears have become international?

The claims seem to be arriving thick and fast. I remember the end of the world scare of 1979 when I was in high school. There seemed to be a hiatus until 1999, and since then the dates have begun to bottleneck. What we are seeing is the role-playing of a Christian mythology, and herein is the real danger. A true believer can try to initiate the end times. We only need recall 9/11 to test that. Like most religions, Christianity has developed its own unique mythology that freely borrows elements from both other religions and popular culture. The apocalypse has a history, you know. Overall the false scare of the end of all things has been good for this blog. It was not without irony that I noticed my post for May 21 was number 666. But like the clock that is still ticking, this post will clear that hurdle, and the world will be around for a long time yet to come. Now I need to go and pull back the curtains, just to make sure, and keep an eye out for Foxy Loxy.

Silver Scream

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Only within the last couple of decades have movies begun to be taken seriously as expressions of the Zeitgeist. An art form not even 150 years old, commercial movies have been seen primarily as an entrepreneurial exercise—money-making ventures with little serious thought. Now students of society recognize that where our wallets are, there our hearts are also. Even in the depths of recession the entertainment industry maintained its draw. The unemployed could at least watch movies cheaply at home. Yesterday’s newspaper contained an insightful entertainment piece on horror movies by film critic Stephen Whitty. Noting that the film industry began when the Production Code largely mirrored pre-1950’s American cultural values, Whitty observes that clergy were left out of movies, or when they appeared they were strong role-model characters. Then, beginning with The Exorcist, the demonic became a huge theme in movies. As Whitty concludes, “Certainly it’s partly a reflection of a growing fundamentalism” that indicates why such movies are now so popular. Many Americans believe in angels and demons and turn to them to explain the serendipitous or contretemps.

Scary, but not necessary.

Social attitudes help to explain what we see on the big screen. Almost from the beginning religious leaders have castigated the entertainment industry as an unholy counterpart to sanctified living. Theater was earthy and evil, movies immoral, and even the desire to be entertained took away from the struggle for salvation. Ironically, however, movies tend to reflect conservative values. At least when it comes to demons. In the current glut of demonic films—which most Americans rate as the scariest kind of horror movie—the church-sanctioned hero is often the only effective tool against evil. A mythology of a Manichean dimension reigns: good struggles against evil and good will prevail. Unfortunately, this Hollywood scenario falls on the side of simplistic solutions to complex problems. Evil is our own doing—we need no demons to tell us how to be bad. Likewise, help often fails to come from on high.

Over the weekend I watched Dogma once again. Severely criticized as immoral and trashy, the overall message is, however, one of faith and hope. No fundamentalist, Kevin Smith certainly takes his pot-shots at Christianity, particularly Roman Catholicism, but in the end God and angels are real, and demons are defeated. Yes, this comedy is intended to be entertainment, but the audience that views it probably agrees with its core values. As Whitty demonstrates, the past decade has flooded the market with Hell-born foes, and there seems to be no imminent slacking of the pace. People are afraid. Our efforts at free-market Heaven have turned out to benefit too few while too many are still without work or adequate security. No, we need no demons to instruct us in the ways of evil. We are fully capable of initiating our own.

Fear Itself

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Who you gonna call?

“The only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance.” These bold words from Franklin D. Roosevelt’s first inaugural address could just as readily be applied to religion. Frequent readers of this blog will have no doubt noticed the recurring references to horror films and the occasional scary novel. Aside from everyday fears, (such as yesterday’s when I learned that my summer course, my only source of income for next month, had been cancelled) there are more deeply seated phobias that lurk in our subconscious minds. A reasonable conclusion might suggest that this undercurrent of fear is what buoys up the horror movie industry—people really are afraid. Fear is, in the final analysis, the original basis for religion.

Along with the evolution of consciousness, humanity has also acquired the knowledge of uncertainties and troubles ahead. We project to the next day and realize tomorrow is never secure. In desperate hope we beg the higher power for protection. If we were in control of our own destinies, we would not need the gods. Over the course of civilization, there have been luminaries who’ve tried to wrestle religion from the realm of fear into a more pleasing sphere. Jesus, for example, tried to stand religion on the basis of love. Within a couple of decades, however, Paul came along and managed to twist it back into the domain of fear once again. Fear of Roman persecution, fear of Hell, fear of life itself.

Religion is an embodiment of our fears. Many today choose to place their trust in reason and technological development. No doubt these arenas of human endeavor have improved life for many people. Yet, even with our growing global awareness, fear creeps in and we use our technology for weapons to keep us safe. We don’t call it religion any more, but national security, or the defense industry. Or, God help us, the TSA. The end result is the same: we fear more than fear itself. We place our trust in something we can’t fully comprehend. No matter how rational (or unemployed) we become, religion will never go away.

Doubts Creep In

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What between Snooki at Rutgers and Mel Gibson’s Passion played at Montclair, I seem surrounded by university controversy lately. A recent article in the New Jersey Jewish News addresses once more the pre-Easter screening of The Passion of the Christ on Montclair State University’s turf. Education is bound to be embroiled in controversy since learning is seldom comfortable. I suspect that is one reason bully governors and the occasional president go after higher education. Few adults like to have their assumptions challenged, their values questioned. I am reminded how blindly many educated clergy accepted the version of the faith story by a disgruntled actor rather than by scholars who actually know what they’re talking about. It is difficult to dismiss the truths of the big screen.

The fact that the wounds opened by this screening are still bleeding weeks after the event demonstrate just how vital open dialogue is. Not only open dialogue, but frank discussion of religion. Many, if not most, religious believers carry on the tradition in which they were raised. Parents begin religious instruction early, and with the threats of a fiery Hell and an enraged divine father overhead, children are shunted toward Heaven everlasting. Not all religions use the same stick and carrot, but no matter what the bludgeon or the vegetable, religions give the faithful reasons to stay in line. Best not to discuss it too much, otherwise doubts might creep in. Educating students in religion is controversial, but necessary as long as people continue in practicing it.

As the article notes, the objection to the film revolved around the fact that no educational component was included. This was one of those “think with your guts” kind of moments, as if feeling sorry for the fictional portrayal of Jesus might somehow make one a better Christian. Educational institutions are duty-bound to teach critical thought when it comes to matters of belief. Emotion is a fantastic motivator, but as history has repeatedly demonstrated, it tends to act without thought. Universities should be open to such constructive criticism, although, it is doubtful that many minds are likely to be changed when the draw at the box office is too great to ignore.

Entertainment or education?

My Myth is Bigger

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“Do some people still worship those gods?” That is the question my daughter asked on the way home from seeing Thor yesterday. I had to staunch my immediate “no,” and qualify it. Revival movements exist for most ancient religions, although it is difficult to gauge how serious they are. Then I open this morning’s paper and see that conservative Muslims have been attacking Copts (by definition conservative) in Egypt again. Religion foments hatred more effectively than just about any other aspect of culture because it concerns belief. Beliefs must be held with conviction, we are constantly reminded, and conviction means convincing others that you are correct. This is the devolution from mythology to religion.

Mythology is a meaning-seeking system of stories that are true but not factual. The modern religious (and scientific) mind has difficulty accepting something that is true and false at the same time. No one requires convincing that life harbors plenty of difficulties. Even in this softer, technologically sophisticated environment we’ve created for ourselves, disappointments and difficulties abound. Religions often promise paradises that they just can’t deliver, and so true believers often grow frustrated. The myths, however, remind us that struggle is part of existence even for gods. For every Thor there is a Loki. The simplistic nicety of one God padding a harsh world with a comfortable lining simply does not match reality. Mythology has an answer for that, an answer which is more honest than many “sophisticated” religions.

In ancient times it really did not matter what you believed. Gods don’t really care what you think of them as long as you provide what they require. Offer your sacrifices, do your duty, and get on with life. Religion today is a matter of correct mental assent. If in my head I agree that this particular deity is the only one, and I love that deity, all will be well. Funny thing is, even monotheistic religions can’t figure out that if there’s only one God than everybody is worshiping it (him, according to many) already. Better to kill off those who don’t agree, just to make sure. All gods, after all, demand sacrifice.

Even scientists honor the gods: the Thor Delta